CityBeat - Movies http://www.citybeat.com/cincinnati/articles.sec-83-1-movies.html <![CDATA[‘Infinitely Polar Bear’: Insight Beyond a Cute Title - ]]>

The viewing experience sometimes needs to be shared, and I’m talking about films beyond the obvious genre exercises — the found-footage horrors where very little happens, seemingly made for midnight screenings, or the mythic displays of cartoonish world-beating violence that dominate the shared mythic realms of our comic book universes.

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<![CDATA[Marvel’s Ant Caper Is Fast and Fun - ]]>

Sometimes it pays off big to make a few small, albeit risky departures from convention. 

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<![CDATA[Wandering Aimlessly Inside Blumhouse’s ‘Gallows’ - ]]>

Since filmmaking collaborators Travis Cluff and Chris Lofing teamed up back in 2011 on Kid HULK — a four-minute short about a young Bruce Banner who helps a girl deal with bullies — it might be logical to assume that the pair might have been interested in attracting the attention of the Marvel-movie-universe brain trust in the hope of securing a coveted gig helming one of the highly anticipated superhero features on the horizon.

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<![CDATA[Thomas Mann: From ‘Project X’ to ‘The Dying Girl’ - Review: Me and Earl and the Dying Girl]]>

Weaned on ludicrous white-male teen fantasies like Risky Business and Ferris Bueller’s Day Off (the whole John Hughes oeuvre, really), even as an adult I have to admit to a partiality toward movies in which the teen heroes live in a world gloriously beyond the attention of parents who bear more than a passing resemblance to police and other authority figures.

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<![CDATA[Perspective — Not Paradise — is Lost in ‘Escobar’ - ]]>

Earlier this year, in McFarland, USA (from director Niki Caro) —featuring Kevin Costner as Jim White, the reluctant yet devoted coach of a cross-country team in a small migrant community in California — we experienced life through the eyes and situation of White and his resilient all-American family.

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<![CDATA[Life is Like a Box of Explosives - ]]>

I have to admit that sometimes, as a working critic, I love to read the buzz on films to get a sense of the general consensus.

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<![CDATA[The Elusive ‘Saint Laurent’ - ]]>

 “The Elusive Genius of Saint Laurent” would have fallen right in with our chosen acceptance of the narrative of the word “genius,” and I suppose it would have also matched the subject.

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<![CDATA[‘The Connection’ Addresses the French Perspective - ]]> The mere mention of The French Connection conjures images of William Friedkin’s prototypically gritty police thriller that set up the contrast between Jimmy “Popeye” Doyle (Gene Hackman), the emotionally troubled but doggedly determined cop, and Alain Charnier (Fernando Rey), the urbane European drug dealer — the smooth criminal, if there ever was one — supplying pure heroin to all of North America like a contemporary conglomerate ruling the international market. ]]> <![CDATA[Tracking the Heavenly Sounds in Brian Wilson’s Head - ]]>

While riding the waves during a recent screening of Bill Pohlad’s Love & Mercy — the new biopic exploring two significant periods in the life of Brian Wilson, the studio wizard behind the Psychedelic Pop symphonic sound of The Beach Boys — I experienced a subtle yet momentarily surprising disconnect.

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<![CDATA[The Remake Guidelines - ]]>

Recently I caught myself having an out-of-body experience. In the midst of a heated discussion about a new release — Gil Kenan’s completely unnecessary Poltergeist — I blurted out that Hollywood should stop producing remakes.

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<![CDATA[Does Debating a 'Good Kill' Make for a Good Movie? - ]]>

This isn’t real life, Good Kill, this new movie from writer-director Andrew Niccol (Gattaca, Lord of War), about Major Thomas Egan (Ethan Hawke), a long-serving and highly decorated pilot who now “flies” drone missions from a trailer in the Nevada desert and bombs targets in the Middle East.

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<![CDATA['Lambert & Stamp': Sign of the Changing Times - ]]> The birth of the DIY movement, it could be argued, arrived when Christopher Stamp and Kit Lambert stumbled upon each other and discovered their shared dream of becoming filmmakers. ]]> <![CDATA['Maggie': Fighting the Dying of the Light - ]]> Cultural fatigue looms over every frame of Maggie, the new release from director Henry Hobson and screenwriter John Scott 3, setting up a seemingly monumental obstacle for the newbie feature filmmaking team to overcome. ]]> <![CDATA[Filmmaker Alex Garland Humanizes the Machine - ]]> Ex Machina writer-director Alex Garland is a thoroughly modern writer, intent on probing our most human urges and the boundaries that lie beyond the present moment.]]> <![CDATA[Damage Looms in the 'Clouds of Sils Maria' - ]]> Maria Enders (Juliette Binoche) lives in rare air. She is an accomplished actress on both stage and screen, beautiful and recognizable by those within the industry — the power players who matter most, especially when it comes to casting.
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<![CDATA['Gett' Spotlights a Tragic Human Trial - ]]> Viviane Amsalem (played by co-writer and co-director Ronit Elkabetz) wants a divorce from her husband Elisha (Simon Abkarian). Viviane is a quiet and unassuming woman, a mother of four children with an established career as a hairdresser outside the home.]]> <![CDATA[Art and Identity, Lost and Found in 'Woman in Gold' - ]]> Much investigation has gone into the issue of Nazi art theft during World War II, with grand efforts made to verify claims and restore pieces to their rightful owners or their surviving family members. ]]> <![CDATA[Indie Horror Reinvigorates the Genre - ]]> In The Babadook, we get Amelia (Essie Davis), a put-upon single mother struggling to overcome the trauma of losing her husband while raising an emotionally challenged son named Samuel (Noah Wiseman), who fears the monster lurking under his bed and on the pages of a new book in his bedtime collection.]]> <![CDATA[Period Thriller '’71' Runs All Night Through Belfast - ]]> Streets don’t get much meaner than those of Belfast back in 1971 as the British army all but occupied the territory, caught up in what amounted to terroristic street fights between Catholics and Protestants with few truly innocent bystanders in the middle. ]]> <![CDATA[The Evolution of a Shooter: Pierre Morel and ‘The Gunman’ - ]]>

Movie taglines boast new productions being “From the director of Taken” or “From the cinematographer of The Transporter,” but how many people truly know the name of this mystery moviemaker?

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